In "Roman Candles in Hampshire" we find him attacking Keble's ritual at Hursley. This was in February, 1852, and when the _Tablet_ attributed the riots and loss of life at Stockport to the Government's proclamation "against processions, vestments, and the free exercise of the Catholic religion," charged the Ministers responsible with planning murder, and described the Queen's speech as "a vile and hypocritical document," _Punch_ replied to the editor that "we, the mass of Englishmen, look upon your viperine expectorations with simple antipathy and disgust." A bitter cartoon on the interference of Irish priests at elections followed up this exchange of opinions; not more bitter, however, than the repeated onslaughts on Canon Moore, the Anglican pluralist registrar of the Prerogative Court of Canterbury, who drew £13,000 a year, according to _Punch_, yet doing nothing to earn it. The controversy died down during the Crimean War, and then, four years elapsing, the Clapham Evangelicals are rebuked for the "profane vulgarity and sanctified slang" of their campaign against the Redemptionist Fathers.
For the rest of the period under review in this volume _Punch_ shows a slightly more tolerant spirit to Papists. Exeter Hall and the bigots who strove for a renewal of the Protestant ascendancy in Ireland, which they considered had been imperilled by the Maynooth Grant, are frequently rebuked for this intolerance; and he went so far as to say, _à propos_ of the persistent activities of the United Kingdom Alliance, that, "Of all Popery, that which threatens to 'rob a poor man of his beer' is the most objectionable and most atrociously subversive of the liberty of the British subject." The sting of the remark was not lessened by the fact that the honorary secretary of the Alliance in question was a Mr. Samuel Pope, and _Punch_, unable to resist a pun, observes that there is "one important difference between this present Papal aggression and that of this time six years. There was at least one Wiseman engaged in the former, whereas the parties to the latter are all of them fools." At the close of the year we come across the first mention of Spurgeon--by no means complimentary. _Punch_, who suggests him as a fit model for Madame Tussaud, who "makes dolls of our idols," regarded the Nonconformist preacher, already famous at the age of twenty-three, as a mere self-advertising jocular charlatan, a "sacred creature at thousands of tea-tables," a "dealer in brimstone with plenty of treacle." _Punch_, as will be seen, had no liking for the "pets of the pulpit," whose portraits were even more in evidence at the print-sellers' shops than those of favourite actors. The "histrionic pulpit" was "worse than the stage at its worst," and he admonishes Spurgeon to dispense with these aids to popularity.